-The prevalence of Buddhism in a healthy period.

"Thousands of miles of meat crow green red, water village mountain fruit wine flag wind. There were 480 temples in the Southern Dynasties, and there were many pagodas in the misty rain. " This is a famous sentence by Du Mu, a poet in the late Tang Dynasty, in Jiang Fuchun. The huge number of "480 halls in the Southern Dynasties" is not due to the exaggeration of the poet. According to historical records, there are even more than 500 Buddhist temples in Jiankang, Liang Wudi. This is just comparable to the grand occasion of Buddhism in Luoyang, the capital of the Northern Wei Dynasty at the same time, reflecting the widespread popularity of medieval Buddhism in the north and south of China and the new features in the ideological field.

During the period of Wu Dong, the earliest drifting temple in Jianye Capital was Jianchu Temple, which was built by Sun Quan for Buddhist monks in the western regions in the tenth year of Chiwu (AD 247). At that time, Buddhist temples were dominated by stupas, so there was a stupa in the center of the temple to support Buddhist bones. Therefore, the temple is located behind the Qinhuai River Market, so it is also called "Market Temple" and the place name is "Buddha Lane". The Kangseng Society translated several Buddhist scriptures in Jianchu Temple, which was the beginning of the translation of Buddhist scriptures in Jiangdong area. In addition, there is a Buddha statue in Chang Gan-"Ashoka Tower" (Ashoka was a very Buddhist king in ancient India), and there are Buddha bones and relics buried in the underground palace in Taki. The original Nishi Temple next to the pagoda was destroyed in the middle of Wudong, and rebuilt as Chang Gan Temple in the early years of the Western Jin Dynasty.

During the Eastern Jin Dynasty, because Buddhists catered to the prevailing metaphysics and talkativeness of the ruling class at that time, Buddhism gradually became China and gained the universal belief of the royal family and aristocratic families. The number of Buddhist temples in Jiankang has also increased accordingly, and there are now about 40 famous ones. Because Buddhist scripture translation is an important means to spread Buddhism, Jiankang's Buddhist scripture translation has further prospered. The culture and art of Indian, South Asia and Western Regions have also been widely spread, injecting new blood into the ancient China culture.

Representatives engaged in Buddhist scripture translation and cultural exchanges between China and foreign countries in Jiankang made the greatest contribution in the Eastern Jin, Liu and Song Dynasties, including Fa Xian, Bao Yun and Buddhabhadra from China. Faxian was not only a great translator at that time, but also a great traveler. In 399 AD, at the age of 65, he set out from Chang 'an, passed through the western countries, crossed the Pamirs, and traveled to Tianzhu (now India) countries in search of Buddhist relics and scriptures. On his way home, he wanted to return to Guangzhou via Ceylon Island and Sumatra Island, but his boat was blown by the sea breeze to Laoshan Mountain in Shandong Peninsula (now Laoshan Mountain near Qingdao). After landing, we will pass Guangling (now Yangzhou) and Jingkou (now Zhenjiang) and return to Jiankang, the capital of the Eastern Jin Dynasty, in 4l3 AD. At this time, he was 79 years old. Fa Xian wrote his travel notes in the second year of his return to Jiankang (AD 4 14). Although the full text is only over 9,500 words, it is the earliest important work describing the history, geography, customs and customs of Central Asia, India and the South China Sea at that time. It is called Fa Xian Zhuan, also known as The Story of Buddha or The Story of Traveling to Tianzhu. This book, together with The Tale of the Western Regions written by Xuanzang, a master of Sanzang in the Tang Dynasty, can be said to be the two most outstanding travel notes of China in the Six Dynasties and Sui and Tang Dynasties.

Dojo Temple, located in the southern suburb of Jiankang (also known as Douchang Temple, about outside Yuhua Gate today), was the translation center of Buddhist scriptures in Jin and Song Dynasties. The year before Fa Xian returned to Jiankang (AD 4 12), Buddhabhadra, a Chinese and Indian monk he met in Chang 'an, and his great disciple Guan Hui were invited to Dojo Temple by Liu Yu, a general of the Eastern Jin Dynasty. Then, Baoyun, a monk who met Faxian in North Tianzhu, also came to Dojo Temple. Bao Yunpu studied and mastered the ancient Indian script Sanskrit abroad, which prepared good conditions for him to translate Buddhist scriptures. Fa Xian lived in Dojo Temple for about five years. Besides writing Buddhist stories, he also translated six Buddhist scriptures, totaling 1 10,000 words. Buddhabhadra, together with hundreds of monks from China, translated the extensive Huayan Sutra in Dojo Temple from 4 18. Baoyun spent the longest time translating Buddhist scriptures in Dojo Temple. It is said that he can read Sanskrit Buddhist scriptures and translate them into fluent Chinese at once. After his translation and revision, there are many kinds of Buddhist scriptures, such as Infinite Life Sutra, which are of high quality. People commented: "Jiang Zuo's translation of Buddhist scriptures is the first."

Crock Temple was the Buddhist temple with the richest artistic treasures at that time. Famous painters of the Eastern Jin Dynasty, such as Gu Kaizhi, sculptor Dai Kui and Dai Yiqing, all left their excellent works in the crock temple. Crock Temple is located in Hualu Port in the southwest corner of Nanjing today. It was built in 364 AD. It was originally a pottery workshop run by the Eastern Jin government, and it was called "crock", so it was used as the name of the temple. When the crock temple was built, monks raised money from the society. Some royal families, clans and bureaucrats donated money to pray, but none of them exceeded 65,438+10,000 copper. Only Gu Kaizhi, who is only 20 years old, has written millions of donations, so he is considered to be bragging. Soon, the monk asked him for money, Gu asked the monk to prepare a white wall in the hall, and then closed the door and devoted himself to painting a mural of 100 days with the theme of "living on earth". According to Buddhist scriptures, Vimalakīrti is a very noble Buddhist ("Buddhist" refers to a person who believes in Buddhism but has not officially become a monk) and is very famous among Buddhist figures. It is said that he often argues with Manjusri Bodhisattva. When this huge mural was basically completed and Vimalakīrti was about to get an eye, Gu Kaizhi informed the monks to invite people to visit and donate money. At this time, a radiant, thin, intelligent and considerate Vimalakīrti lay man appeared in front of people, which greatly changed the atmosphere of the whole temple. The audience enthusiastically donated money, which soon exceeded 6.5438+0 million yuan. It is said that this famous mural still existed in the Tang Dynasty, and the great poet Du Fu once visited Jinling personally. Later, this painting was once moved to Kanluoji, Zhenjiang, and then moved to Chang 'an Palace in the late Tang Dynasty, which shows the great value of this painting.

Gu Kaizhi lived near the crock temple, which was later called "Gulou Street". It is said that in order to concentrate on painting, he occupied a special position upstairs. He usually pulls the stairs and doesn't go downstairs every day. People call him a genius, a painter and an idiot. Xie An, the prime minister of the Eastern Jin Dynasty, praised his paintings as "born without anything". But Gu Kaizhi himself thinks that the most important thing in painting characters is to draw good eyes. Fans who draw a character don't nod. When someone asked him, he replied, "That's enough." He added: "The vivid portrayal is in the middle of a block (refers to the eyes)." He advocates that painting characters should master the appearance characteristics of each specific character and their specific personality. His works are rarely handed down. The existing pictures of women's history and Luo Shen's fu are all copies before and after the Tang Dynasty, but we can still see that his pen is "like a silkworm spinning silk" and "like spring clouds floating in the air and flowing on the ground".

There are also works by two great sculptors, Dai Kui and Dai Qing. Dai Kui once cast five bronze Buddha statues for the crock temple. At that time, these exquisite Buddha statues, together with the "Vimalakīrti" mural made in Gu Kaizhi and the 4-foot-2-inch-high white jade Buddha statue sent by Lion State (now Sri Lanka), were called the "three wonders" of the Crock Temple. According to records, when Dai Kui made sculptures, he often listened to the audience's opinions with an open mind to improve his works. On one occasion, he carved a wooden statue of an infinite living Buddha and two bodhisattvas, which was as high as 1.6 feet, which seemed unsatisfactory. He hid in the curtain next to the portrait, listened to the audience's comments, and then made a new portrait in three years, which won people's appreciation. Dai Qing inherited his father's sculpture skills and completed many excellent works. He is also good at modifying existing Buddha statues. On one occasion, Prince Liu Song sent a bronze Buddha statue as high as 1.8 feet to the crock temple, which made people feel too thin-skinned. Later, I invited Dai Yi to see it, only to find that it was because my shoulders and arms were too fat. The workers modified it according to Dai Qing's opinion, and it actually became the most magnificent Buddha statue in the crock temple.

The crock temple is famous in the world, not only because there were "three wonders" in the temple in the Eastern Jin Dynasty, but also because it was expanded in the Southern Song Dynasty and the Qi and Liang Dynasties. For example, the Liang Dynasty added large murals painted by the famous painter Zhang Sengyou and built a 340-foot-high crock pavilion. Zhang Sengyou is a famous painter who is good at drawing figures, especially Buddha statues. He has created murals in many Buddhist temples in Jiankang, except for the crock temple and anrakuji near Wuyi Lane. According to legend, he once painted four white dragons for anrakuji, but none of them had eyes. Later, the monk insisted that he order, and as a result, two of them broke the wall and flew away. This is the origin of the idiom "make the finishing point". Zhang Monk Friends is also good at learning foreign painting skills. It is said that he painted many concave-convex flowers on both sides of the temple gate of Yicheng Temple in Qingxi, that is, he used red and turquoise to express the light and shade perspective of the mosaic, which seemed to have a concave-convex three-dimensional sense from a distance. In fact, he adopted the "blooming method" popular in Tianzhu at that time. Therefore, people also called Yicheng Temple "convex-concave temple" at that time.

When Liang Wudi built the crock pavilion, it was very close to the Yangtze River, so in the sunshine near noon, the shadow of the crock pavilion could be reflected on the river, which was a scenic spot overlooking the river at that time. Li Bai, a great poet in the Tang Dynasty, once visited this pavilion. As mentioned in his poem "Poems on the Hengjiang River", he said, "People say crossing the river is good, but I say crossing the river is bad. The wind blows down the mountain for three days, and the white waves are higher than the crock pavilion." Unfortunately, when the Southern Tang Dynasty perished, this pavilion was burned down by Wu Yueguo's army.

In the east of the crock temple, there is also a scenic spot in the Southern Dynasties called Phoenix Terrace. According to legend, during the Liu and Song Dynasties, three different birds similar to peacocks flew to this mountain in Lu Hua, attracting many ordinary birds to "make hundreds of birds fly to the Phoenix". In feudal times, it was an auspicious symbol of world peace, so the Liu Song regime built a high platform there, which was called "Phoenix Terrace". Li Bai, a great poet, once boarded this platform, leaving a famous sentence of "Climbing the Mountain in Nanjing" for the Phoenix Platform. The full text is "Phoenix that once played here, so that this place is named after them, but now it has been abandoned to this desolate river. Martial arts flowers were laid on deserted paths, and the number of relatives and friends in the Jin Dynasty has become a famine. Three mountains and a half fall outside the blue sky, and two waters are white Yuanzhou. A cloud rises between the light of heaven and me, hiding his city from my melancholy heart. "

If the temples such as Jianchu Temple, Dojo Temple and Crock Temple we introduced above are all located on the Qinhuai River. Since Wu Dong, this area has been a prosperous industrial and commercial area and residential area. For example, in front of the Chujian Temple is a famous market, in front of the Dojo Temple is Douchang City, and the crock temple is also very close to the market. This is similar to that of Suoguo Temple in Kaifeng and Xuanmiao Temple in Suzhou. There are lively markets in front of the temples. In addition, the royal family, imperial clan and bureaucrats in the Eastern Jin and Southern Dynasties also donated their houses to monks as temples, which is called "building houses as temples". There are many such temples, such as anrakuji, who painted dragons in the Zhang Sengyou mentioned above, which was originally the garden representing the king in the Eastern Jin Dynasty. Yicheng Temple, famous for its concave-convex flowers, is also the residence of Liang Shaoling and Wang. Later, General Manager Jiang, a great bureaucrat and writer of the Chen Dynasty, gave his reading room to this temple. Roughly from Qingxi in the east to Shicheng in the west, Yuhuatai in the south and Duchengguo in the north, there are more than half of the 480 temples in Nanlang.

In order to rule the people with Buddhism and pray for himself, Emperor Nanlang built a series of magnificent temples inside and outside Miyagi for day and night visits. Tongtai Temple (the predecessor of Jiming Temple) is the largest one. As early as around 300 A.D. (Yongkang period in the Western Jin Dynasty), there were Buddhist temples on Jilong Mountain. In 527 AD, Liang Wudi Xiao Yan founded Tongtai Temple again, and made the south gate of the temple face the north gate of Miyagi, so as to facilitate altruistic access. There are six halls in the temple, more than 65,438+00 small halls and Buddhist temples, as well as a 7-story-high Giant Buddha Pavilion and a 9-story-high pagoda, which are used to house the magnificent ten-square golden statue and ten-square silver Buddha. Liang Wudi himself had "sacrificed his life" four times for the pretence of becoming a monk in Tongtai Temple, and then asked the ministers to redeem him with huge sums of money, and in this way helped the monks in the temple to defraud tens of millions of copper coins. Later, the Tongtai Temple caught fire, and Liang Wudi wanted to build a higher pagoda with 12 floors, but it was not completed because of the "Hou Jing Rebellion". Therefore, the human and financial resources wasted by Tongtai Temple are the most prominent among all Buddhist temples in the Southern Dynasties.

Zhongshan in the eastern suburb of Jiankang and Sheshan (now Qixia Mountain) in the northeastern suburb are the other two concentrated places of Buddhist temples in the Southern Dynasties. There are many Buddhist temples in the north and south of Zhongshan. There were 70 before the Liang Dynasty when Buddhism flourished, and the number should increase. Among them, the most famous ones are Daaijing Temple, Fayun Temple and Toutuo Temple in Beifeng, Kaichan Temple and Ding Lin Temple in Dulong House where the Ming tomb is now located, Caotang Temple in Beishuo (the location of the regular Yuchun tomb in Ming Dynasty) and so on. The Kaizen Temple was built in the 14th year of Tian Jian, Liang Wudi (AD 5 15) to commemorate Baozhi, a monk at that time. It is said that after Baozhi's death, Liang Wudi spent 200,000 copper coins to buy the Dulong Fu in front of Ding Lin Temple and buried him. There is a five-story pagoda on the tomb, the top of which is embedded with priceless colored glass beads imported from abroad, so it is also called "Pearl Tower". Zhang Sengyou, a great painter at that time, once painted a portrait of Bowie. Later, Wu Daozi, a famous painter in the Tang Dynasty, repainted the portrait, and Li Bai, a great poet, wrote a hymn. His calligraphy is like Yan Zhenqing's handwriting, engraved on the same stone tablet, so it is also called "Three Juebei". In the early years of Yuan Dynasty, the painter Zhao Mengfu (Du Fu) wrote Twelve Songs for the Public. In the early Ming Dynasty, due to the construction of the Ming Tombs, the Baozhi Tomb Tower, the Three-Wonder Monument and the Buddhist Temple were moved to the present location of Linggu Temple. The existing "Three Wonders Monument" in Guling Park is an imitation after the Qing Dynasty.

There are only a few Buddhist temples in the Southern Dynasties, such as qixia temple, Qingyun Temple and Intuitive Temple, but they are famous for their artificial cave temples-"Thousand Buddha Rock". Qianfo Rock is located on Qianfo Ridge behind Qiku Temple today. The earliest stone grottoes were called "Infinite Hall" or "Three Temples". The main Buddha statue in this temple is an infinite longevity Buddha statue, which is 3 feet 2 feet 5 inches high. On both sides are Guanyin and Shi Zhi Bodhisattva, which are 3 feet high, and are called "the Three Sages of the West". It was excavated shortly after the founding of qixia temple in the seventh year of Qi Yongming in the Southern Dynasties (AD 489). The rest of the nearly 300 shrines and more than 500 statues of Buddha were mostly funded by the royal family and big bureaucrats of Qi and Liang Dynasties, including Prince Wen Hui, King Zhang Yu, King Jingling and King Shi 'an of Qi Dynasty. They loved money as much as possible, and because they were reluctant to spend money themselves, they built and decorated grottoes on a large scale with public funds from the treasury of Liang Dynasty. The basic layout of these niches is "one Buddha and two bodhisattvas" or "one Buddha and two disciples" (the second disciples are usually old Ye Jia and young Ananda). Some Buddhist temples have two lions squatting down (called "lions listening to the Tao"), and there are often statues of King Lux on both sides of the grottoes. Their carving style is round, delicate, beautiful and elegant, which seems to be different from the artistic styles of Yungang and Longmen Grottoes in the Northern Dynasties. Unfortunately, the stone of Qianfo Rock is red sandstone, which is easily weathered. Eunuchs were rebuilt in the Ming dynasty, and monks in the ignorant temple were repaired with cement before liberation. Now it's beyond recognition.

There were 400 people in ten temples in the Southern Dynasties who concentrated in Jiankang, which was an extremely heavy burden for the people at that time. It not only occupied a large number of folk fields, houses and places of interest, but also wasted a lot of manpower and material resources to build temples, towers and Buddha statues, and also supported hundreds of thousands of monks and nuns. Every Buddhist temple has a huge manor, engaged in business and usury activities. They are not only representatives of theocracy, but also secular big landlords and businessmen. In this way, the oppression and exploitation suffered by the people are even heavier. Therefore, some people of insight at that time rose up against it. Liu Song once built a magnificent "xianggong" temple in the north of the homesick bridge on Taiping South Road (called Qingxi Bridge in ancient times). The temple site was originally the palace of Liu Mi, the Emperor of the Song Dynasty. When he became emperor, he built two five-story pagodas, and the backlight made of gold foil on the bronze Buddha statue was extremely luxurious. When Emperor Ming of Song asked his officials to visit what he called "merit", an official named Yu Yuan said bluntly, "This was built by ordinary people selling their wives and children. This sin is deeper than the pagoda. What merits can you have? "

In 489 AD, a famous debate between atheists and theists in the history of China philosophy was held in the "Xidi" of Jingling Wangxiao in Nanqi near Jilong Mountain. Among them, outstanding thinkers Fan Zhen, Xiao, Xiao, etc. are representatives of atheists, and a large number of Buddhist monks participated in the debate. While arguing orally, Fan Zhen actively drafted the article "Theology", which proved that matter is concrete and spirit is attached. This was an extremely serious blow to the widespread Buddhist superstition at that time. Therefore, after the publication of The Extinction of Immortals in 507 AD, Fan Zhen was once again besieged by Buddhists. However, without fear, he declared that he would never "sell the theory for an official" and continued to refute the deceptive story of religious migration. It is said that he often "serves thousands of people every day" and many Buddhist believers are rendered speechless by him. Finally, they had to invite Liang Wudi out and exert political pressure to exile Fan Zhen to Guangzhou. However, the struggle did not end there. After Fan Zhen was exiled, Guo Zushen and others continued their struggle against Buddhism until the "post-Beijing rebellion" in which Jiankang was destroyed.

Around the Six Dynasties Buddhist Temple in the suburb of Jiankang, there are a series of imperial tombs from the Eastern Jin Dynasty to the Southern Dynasties. Before these tombs, most of them had huge and vivid stone carvings, and more than 20 have been preserved today. They are representative works of medieval stone carvings in China, which have high historical and artistic value.

The earliest tomb of the Six Dynasties in Jiankang area is the tomb of Sun Quan of the Three Kingdoms. He died in 252 AD, and all historical records say that he was buried in Sun Yat-sen's Mausoleum, which was called Jiangling or Wu Dadi Mausoleum in history. Nanjing local chronicles in Ming and Qing Dynasties further pointed out that it is the third mountain outside Chaoyangmen (now Zhongshan Gate), commonly known as "Sunlinggang". So, where is the specific location of Sunlinggang? Because Wang Anshi, a politician in the Northern Song Dynasty, said, "Jiutiantai in the Southern Dynasty is next to Sunlinggang, and it is hundreds of feet to my garden (referring to the Mid-Levels Garden in Zhongshan Gate today)." Because there is no fence around Zhongshan Gate in the Northern Song Dynasty, it is not far from Mid-Levels Garden in the southeast, just in front of today's Ming Tombs, where there is only one "Meihua Mountain" on the larger hill, and the old place name around Meihua Mountain is also called "Jianglingli" or "Tomb of the Prince of Wu". In addition, according to Nanjing folklore, when Ming Taizu was building the Xiaoling Mausoleum, he said that he would ask Sun Quan to "watch the door" for him. Based on the above information, we think that Sun Quan's tomb is probably at the foot of Meihua Mountain. According to historical records, Sun Quan and his later wife, Mrs. Pan, and his ex-wife Mrs. Bu and Prince Sun Deng were all buried in Jiangling, commonly known as "Mrs. Bu's grave" and "Prince's grave". However, no remains can be seen on the ground.

There were 1 1 emperors in the Eastern Jin Dynasty. According to the Records of Tang Jiankang, Moody was buried in Shanyang, the shogunate of Jiankang, Yuan Di, Ming Di, Chengdi and Eddie were buried in Shanyang, Jizong, and Kangdi, Jian Wendi, Xiaowu Wudi, Andy and Gongdi were buried in Zhongshan. And most of them are so-called "flat burial, no grave", so the location of the mausoleum is not easy to determine. 196 1 year 1 1 month, Nanjing Cultural Relics Management Committee found a stone carving at the south foot of Fugui in Taiping Gate, which read, "In the second year of Song Yongchu, there was a heart in November, and on the seventh day of 1911, Gong Di Xuan Palace", indicating that Fuguishan was the location of the Five Tombs in the late Eastern Jin Dynasty, and the concubines in the Eastern Jin Dynasty were all capitals. By 1964, Nanjing Museum had excavated a tomb of the Eastern Jin Dynasty with complicated architectural structure 400 meters west of Gong Jin's discovery site. We think this tomb is probably the tomb of Sima Dezong, the Emperor of Jin 'an, because it is said in Records of Jiankang that Emperor Gong Jin "stayed with Emperor An Yang in Jiangshan" and arrived in Ping Ling. In addition, the tombs of Kangdi, Jian Wendi and Emperor Xiaowu may continue to be found in Fuguishan area in the future. As for the four Jin tombs buried by "Jichong Shanyang", according to the existing signs, we think it may be at the south foot of Gulou Gang. The tomb of the Eastern Jin Dynasty excavated in the North Park of Nanjing University1April, 972 may be one of the four tombs, and its geographical location conforms to the statement in Jiankanglu: "It is 90 miles north of this county (referring to Shangyuan County in Tang Dynasty, today's palace area). According to the records of Buddhist temples in the Southern Dynasties, there is also the "Dudu Dudu" temple established in the Eastern Jin Dynasty nearby.

Generally speaking, we think that the tombs of Jiankang in the Eastern Jin Dynasty are mainly concentrated in two areas: one is in the east of Miyagi, which is the southern foot of Fugui in Taiping Gate today, where there is an ancient place name "Dongling"; First, there is an ancient place name "Xiling" in the west of Miyagi, that is, at the southern foot of Gulougang. In addition, in April of 198 1, Nanjing Museum excavated a tomb of the Eastern Jin Dynasty at the northern foot of Mufu Mountain, which was slightly smaller than the Jin Imperial Tomb of Fugui Shandong, but similar to the tomb of the North Park of Nanjing University. In the three tombs, a pair of pottery seats symbolizing the special status of emperors were found to hang silk curtains, and exquisite celadon, gold, jade and even glassware were unearthed. Therefore, the tomb of Mufu Mountain is probably the Yongping Mausoleum of Mu Tianzi in the Eastern Jin Dynasty, and there is an ancient temple in the Southern Dynasties nearby.

Because after the death of Emperor Xiao in the Qi-Liang period in the Southern Dynasties, they were all buried in their hometown of Nanlanling County, so all the tombs in Qi-Liang are in Danyang City today, and only the tombs in the Song-Chen period were found in Jiankang area.

The location of Emperor Mausoleum of Liu and Song Dynasties is only the Chu Ning Mausoleum of Emperor Wu of Song Wudi, which is located in Qilinmen, the eastern suburb of Nanjing, with Benye Temple in the east. At the Shinto entrance in front of the mausoleum, there are a pair of beautiful winged stone beasts, each about 3 meters long and high, weighing more than 20,000 kilograms. The stone beast on the left has two horns, commonly known as "Tianlu"; The stone beast on the right is one-horned, commonly known as "Kirin", and the two are collectively called "Kirin". "Kirin" is a lion-shaped beast, and there is no real thing in the biological world. Stone carvings have appeared on the Shinto of the tomb since the Han Dynasty. Its origin can be traced back to the bronzes of Shang and Zhou Dynasties, especially the tomb of King Zhongshan in the Warring States Period discovered in Pingshan County, Hebei Province in recent years. The excavation of the bronze beast with staggered silver wings, which is very similar to the stone beast in the Southern Dynasties, further shows that this beast is a traditional work of art in China. However, in the Southern Dynasties, due to the widespread popularity of Buddhism and the fact that the lion is the patron saint of Buddhism, this lion-shaped stone carving was more used in front of the emperor's tomb.

1960 near Xishan bridge in the southwest suburb of Nanjing, a tomb of the Southern Dynasties decorated with brick-printed murals of seven sages of bamboo forest was found. Judging from the two Nanqi tombs with the same murals found in Qiao Hu and Danyang Jianshan, the tomb of Xishan Bridge should also be the tomb of the Southern Dynasties. However, it was earlier than the Second Mausoleum of Danyang, because the age style of the unearthed objects in Xishanqiao Tomb is very similar to that in the third year of Liu Song Hui Yuan (AD 475) near Ganjiaxiang. Therefore, we think that the tomb of Xishanqiao in the Southern Dynasties belongs to the imperial tomb of Liu Song, which is probably the Jingning mausoleum of Liu Jun, the filial emperor of Liu Song. This mural of the Seven Sages of Bamboo Forest is the most neatly painted among the three murals found in Nanjing and Danyang. Ji Kang, Ruan Ji, Dan Tao, Wang Rong, Xiang Embroidery, Liu Lian, Ruan Xian and other "seven sages" who were good at "talking" and "drinking" in Wei and Jin Dynasties, as well as "Gao Shi" in Spring and Autumn Period, their figures are quite smooth, showing a typical painting style of "showing bones and clearing images" in the Southern Dynasties. According to relevant records, Gu Kaizhi and Dai Kui, great painters in the Eastern Jin Dynasty, and Lu Tanwei, great painter in the Southern Song and Qi Dynasties, all created these paintings, but they have been lost. Judging from the style of this mural of Xishan Bridge Tomb, it is mainly based on the so-called "iron line drawing", unlike the "lofty ancient meditation" commonly used in Gu Kaizhi, and the characteristics of "showing bones and clearing images" are also remarkable. Some people think that the matrix of this mural is very close to Lu Tanwei's works, but it was copied into a brick painting by craftsmen. This view is reasonable. "

Chen's Mausoleum in the Southern Dynasties is located in Wan 'an Mausoleum, near the upper bridge outside Guanghuamen in Nanjing, Yongning Mausoleum in Chen Wendi and south of Ganjia Lane in Qixia Mountain. There are a pair of stone kylins in front of the Second Mausoleum. The stone kylins in front of Chen Wudi Mausoleum are simple in shape and smooth in lines. However, the stone unicorn in front of Chen Wendi Mausoleum is gorgeous in shape and decoration, and its carving technique is meticulous and round, which is the representative work of similar stone beasts in Nanjing. In addition, at the northern foot of Guanzi Mountain near Xishan Bridge in Nanjing, a tomb of the Southern Dynasties was also found, which was decorated with brick-printed murals such as "The Picture of the Lion" and patterned bricks such as lotus flowers and rolling grass reflecting the artistic style of Buddhism. According to documents, this tomb is probably the Xianning Mausoleum of Chen He and Chen Zhuan (Xu).

Although the tombs of Qi and Liang Dynasties are all in Danyang City today, most of the tombs of princes are in Nanjing today, especially between Yaohuamen and Qixia Mountain in the northeast suburb, and there are also ancient temples in the Southern Dynasties (Baocheng Temple was later changed to Hengyang Temple) and qixia temple nearby. There are seven tombs of Xiao Xiu, nine brothers of Poyang County, ten brothers of Shixing County, cousin of Wuping County, and Hou Xiaoying, son of Xiao Dan. Liang Wudi's sixth brother Xiao Hongling is also near Xianhemen. In the Shinto in front of the tomb of the princes of the Liang Dynasty, a pair of large winged stone beasts are usually listed first. These stone beasts are very fat, with short necks, and they are in a state of striding forward with their mouths open and their tongues out, weighing about 6.5438+0.5 million kilograms. Their shape is closer to the image of a lion than the stone unicorn, and they are generally called "exorcism". If the Southern Dynasties stone unicorn gives people the impression that it is elegant and beautiful, then the artistic image of stone to ward off evil spirits is robust and full. In Nanjing, the stone devils of the Southern Dynasties were most vividly displayed in front of Xiao Jingzhi's tomb and Xiao Hong's tomb. The second row of stone carvings of Shinto in front of the tomb of the Southern Dynasty princes are a pair of Shinto stone pillars about 6 meters high. This kind of stone pillar is divided into three parts: cap, column and column base. At the top is a small stone standing on a lotus stone plate to ward off evil spirits; In the middle is an oval column with more than 20 straight concave ridges, and a rectangular stone forehead is attached to its upper end, engraved with the official title and surname of the tomb owner. Usually, the left column is engraved with the original book and the right column is engraved with the reverse book, or the left column is engraved with the positive reading text and the right column is engraved with the reverse reading text; On the base of the lower column, there are a pair of dragons with pearls in their mouths. The shape of the whole column is symmetrical and the proportion is coordinated, which makes people feel beautiful, straight and dignified. The most complete Shinto stone pillar in Nanjing is only one in front of Xiao Jing's tomb in Taiping Village (October Village) outside Yaohuamen. This shinto stone pillar with concave ribs and small evil spirits is generally considered to be influenced by Greek and Indian art, but it actually appeared in the Eastern Han Dynasty in China. For example, in the Eastern Han Dynasty cemetery near Babaoshan in the western suburbs of Beijing, this kind of concave shinto stone pillar was found. The words "Qin Jun Shinto, a calligrapher of the Han Dynasty" are engraved on the forehead at the upper end of the column, and the image of Shuang Hu running by is embossed on the base of the column. However, the upper part of the Shinto pillar of Qin Jun in the Eastern Han Dynasty, which was found in Beijing, is a stone-carved roof, with no disks and squatting animals. Therefore, the sculpting of Shinto stone pillars in the Southern Dynasties should be a new artistic creation after the integration of China's inherent artistic tradition and Buddhist art.

Shinto stone tablet is the third stone carving in Shinto in front of the tomb of princes in the Southern Dynasties. This stone tablet is more than 5 meters high and weighs about10000 kg. It is divided into three parts: head, body and base. The head of the tablet is a round bowl without edges and corners, decorated with a pair of twisted Ssangyong, and a round hole called "through the heart" is engraved on the forehead of the tablet, which is the legacy of hanging coffins used for the burial of ancient pairs of tablets. The front of the monument is usually engraved with a long inscription praising the owner of the tomb. The pedestal is made into the shape of a giant turtle with its head held high, which is called "turtle". This giant turtle is called "spiny turtle". It is said that it has great strength and can bear loads, so the ancients used its image as a monument. The most intact Shinto stone tablet in Nanjing is Xiao Dan's tombstone on the west side of Ganjia Lane in Qixia Mountain.

The tombs of the Six Dynasties near Nanjing mentioned above are one of the famous historical sites at home and abroad. In particular, the stone carvings in front of the tombs of the Southern Dynasties are the essence of China's medieval sculpture art and the treasure in the world art treasure house. Now, these exquisite stone carvings have been listed as national key cultural relics protection units.

In addition, archaeologists also found the base address of the Han King in Xiangshan, southwest of Nanjing shogunate, the base address of Han Xie in Gushigang (now Yuhuatai area), the cemetery of Han Yan in Tiger Mountain, west of the shogunate, and the base address of Han Ming in Ganjia Lane, Qixia Mountain. A large number of exquisite celadon, gold and silver wares, bronzes, pottery and even some rare cultural relics in the past, such as pills, black ink, glassware, diamond rings, etc., have been unearthed, which have supplemented a large number of precious objects for studying the history of ceramic development, metal crafts, pharmaceuticals, stationery and economic and cultural exchanges between China and foreign countries. At the same time, it also provides reliable research data for the cemetery selection, burial order, tomb structure and funerary objects system of aristocratic families in the Eastern Jin and Southern Dynasties.